purist

225 people watching Frankie Beverley, 156 watching Combinations. I hardly think you can keep anything secret these days, unless you are lucky enough to find something wrongly listed, or in a batch, simply because it's so easy to search. I'll bet there's a fair few collectors & dealers who have the biggest rare 45's listed in their regular searches, especially with something like the Kellmac's, Shrine's etc Originally wasn't it Rod S. who bought the first copy of each of the Kellmac's to the scene? When would that have been? 79-82 period ? They're both phenomenal dancers which I dearly loved dancing to when I first heard them, and even if they turned up 20,000 copies and were knocking 'em out at a fiver I'd still be overjoyed at owning them. True Northern Soul of the greatest magnitude. What next? a MelloSouls would be nice to see !

Thanks Chalky, only ever owned an orange one, will make it my life's mission to find a mate with a yellow one so i can play the two side by side to check ;-) ( unless somebody can furnish run out details which may prove they were struck from the same master maybe, which would be a nice easy way) Top article mate. Thanks Mike, look forward to some good reading. My memory more than needs refreshing these days !

Great read, still can't believe turning Kell Osbourne down in favour of Bari Track, ah well live and learn. Can I ask, is there anywhere we can hear the 1969 version of "It's Not Where You Start It's Where You Finish"? because I don't know as I've ever heard it? Surely the orange label copies we all know and love must be some sort of remake, remix, whatever you call it of the '69 version, because the orange label one has a later 70's or early 80's disco sound that makes me think it couldn't have been made like that in the 60's, even '69 music didn't sound like that, did it ? Maybe it's the looped handclap sound and the background vocal chant (that reminds me of "Walking In Rhythm" Blackbyrds- a 1978 release I'm guessing?) that makes me think of D-I-S-C-O not late 60's sound/crossover. If they are identical sounding these two different label colours, should we question the '69 dating, especially as the numbering system seems to be all over the place? (Sorry I know it's been covered before, but when did those huge multi-track studios become affordable to independant producers/artists ?) btw I love it when these older articles are dug up and made available for source users. I've only got a few old fanzines left these days, but remember fondly some brilliant pieces written in them. Any more 'from the vaults' articles in the pipeline?

Sorry I'm confused which side you are talking about, so can I ask - Would you say the version of "You Do" on this 45 you've found is identical to the Gold Token one? The reason I ask is that you say there's no backup singers, whereas on the Gold Token 45 that I have, the backing singers constantly echo "You Do" back to Verma throughout the song? (do you need a sound file for the Gold Token version to answer this? p.m. me if so)

Thanks for that

Does anyone have any info on Joe Graves. Other than a few 45's I know nothing, and he certainly seems to have had the talent, so why don't we know more of him? With 3 of the 4 Parkway sides having had spins in Northern venues over the years I'd have thought somebody might know more about Joe? See Saw/Beautiful Girl - Parkway964 (1965 or 66?) Debbie/Boy & Girl Fall In Love - Parkway103 (1966?) It's Got To Be Real / Baby, If You Were Gone Rack: 103 did this also get released on RCA? (47-9758) if so is it identical to the Rack 45? (also found what appears to be a Jazz or Big Band album on Capitol, but presume it's a different artist with the same name?)

They usually seem to say a " Mini 'Niter" and not as you put, Mini Allniter. Perhaps they think that by removing the "All" part of the word it saves pedantic hairsplitters like me saying similar to what you're saying? (don't get me started.... ) It all started to go horribly wrong when they changed from 2 til 8, to 12.30 til 8 ( hoping some trainspotter will remind me when that was, 74? ) These days I'm lucky to last 3 hours, that's even if I get there, so I'm a fine one to talk !

pretty sure I've got a spare, not 100% sure on condition, but I'm rushing out ( my birthday meal) so if you haven't got sorted out with one by tomorrow can i ask you to message me and I'll go searching through. If it's still there it'll be a demo and not exactly sure but think it owes me around 110-120, but dont hold me to that. I'll try to check on here, so if you get sorted lock the thread then I'll know

Back when I collected the label this was one of the double siders on Loma that I always liked Chalky, but reason for commenting on it, it also got released on the Symbol label. Never had one myself on Symbol, but remember seeing a nice issue copy round Richard Domar's some years ago ( just looked he's still got it listed, £50, what's the Loma one worth ? £30?)

" We became instant ³oldies snobs² and looked down on the main room " :-)

Sorry, but I'll not hear a bad word said against it. The Invitations 'Ski-ing In The Snow' (and tunes of this ilk) are the foundation stones that the whole world of Northern Soul was built on. In the pre-Wigan early 70's at clubs like The Catacombs, Torch, etc, these were the tunes that created simultaneous clapping, dropping and spinning. Mixed in amongst the Mirwood's and Okeh stompers it's a perfect fit, better actually than ' What's Wrong With Me Baby", which was a bit played out if I remember correctly, plus the lust created by the fact that this Invitations record had never been released here and was "import" only. Even today if you hear it at a Catacombs anniversary folk still remember the clapping patterns - a true sign if ever there was one that a particular sound was a MONSTER. each to their own, but this is the proper definition of CLASSIC

Slightly off topic, but just to show the other side of the coin, I recently bought a book from a seller on US ebay. Before the bids ended I asked how much for the postage and he said he'd check with the postal service and get back to me as he didn't normally do much international posting, which he did and quoted me 28 dollars. Not knowing how heavy the book might be I had to take him at his word, but of course I adjusted my maximum bid downwards by 20 dollars. I was lucky enough to have the winning bid, then I got an email from the seller, telling me he'd heard there was a different way he could send it for less money but he couldn't be sure until he had time to check it out. I was happy with the total price it was going to cost me (inc 28 dollars post) so I sent him the full amount. The book turned up quickly, the label on the parcel showing he had found a different lower rate. Next thing I know I get thirteen quid back into my paypal account, just in time for an Arthur Prysock 45 I'd just won for the same amount, give or take a few pence. Don't we all love "free" records - and genuine ebay sellers !!!

Interesting that popsike shows about five times as many demo's as issues - I'd have thought the american issue was much rarer than the demo's judging by what you see in boxes at venues and on lists. just goes to show you ( or show me that I know almost nothing

I'm rubbish at names, especially as I'm getting older.... but this sounds a lot like this lovely ladies voice to me.... could it be something to do with the soundtrack of some upcoming film ?

What makes you say they are different? sounds kinda like you've recorded it live at a Niter tho'

The "Since There's No Doubt " Chris Jackson 444 labelled acetate lives with me and has done for 20-25 years, alongside another one which has two different tracks. JM turned up another pair of tracks on a third acetate and auctioned it this year ( was it this year or last ?) Filed away somewhere I have a letter authenticating it from DG, with some details about it's proposed release and subsequent non appearance (c/w some spare 444 labels.)

saw this on ebay and remembered seeing your wants listing, this is a mint minus linda jones, on an issue. hope this helps https://www.ebay.com/itm/Northern-Soul-LINDA-JONES-Have-Done-LISTEN-/360414667101?pt=Music_on_Vinyl&hash=item53ea63615d

One that I like is on Blue Rock, by Alcon Shades, and it's "twin" is Johnny Robinson "Gone But Not Forgotten" Okeh (dunno why i sold that alcon shades? shouldn't have) has anybody shouted up on the ZZ Hill "Dont Make Promises" & Eddie Rey "Something of Value" ? (there are sooo many vinyl versions out there in 'pop world' of this tune, found 20 odd from it's originator Tim Hardin, Georgie Fame, Bobby Darin, Gary Lewis & Playboys, Marianne Faithfull,Joan Baez, etc I don't know about that area of pop music but guess some on here may, there's one listed by Paul Weller, is this him doing a version or si that another song entirely?)

I have the chuck jackson on a 7", paid more money than I should have to get it, but do I care ? Nope ! (also the 'misery makes' -Supremes is on european 45, orange tamla motown, dutch ?) Here's a few favourites loved by dance floors down the years - I'd Cry - Stevie Wonder Give In, You Just Can't Win - Marvin & Tammi ( same album as Treasure Chest, When Love Comes Knocking,Baby Dontcha Worry, the lovely jerky x-over version of Come On & See Me, Thats How It Is Since Youve Been Gone, pretty much the whole album is top) https://www.youtube.com/watch?v=i9bMd3Ti3_4 The Stranger - Gladys Knight (better speeded up a touch, +3imo) You Got To Forget Him Darling - Four Tops (I've had tons of mileage out of this down the decades,never heard anybody else play it) Forget You Ever Met Me Baby - Barbara McNair Cant Break The Habit - Martha Reeves (cant find a link on youtube for it?) Heaven Sent You I Know - Marvin & Kim (Black Country theme, an ender now spun in memorium of souls "in the upstairs room" ) there's lots more yet....

Hi Neil, what's on the flipsides of the issue copies ? cheers

My thoughts are based purely on memory, so not 100% fact, but remember buying it before the first Ritz ( which I think was spring 1975, wasn't it?) because of who I was with when I went to the Ritz, and this was the album "because it's only available on the album", which was quite unusual in those days. I think that the company pressed some 45's maybe a year (or two) afterwards when asked by somebody connected to the scene, and then they turned up here in small quantities at venues, mail order, etc., but anybody seen brandishing the 45 was summarily put down because "that's not original mate" ( because they were custom pressed by the company for "us", like several of the major companies did, CSP, Okeh, etc) When the French ones started to turn up in more significant quantities it was said that they were 'the first issue', but again they followed the album by 18 months/two years, making all singles 2nd way to own the track. imho the album is oVo, all 7inchers ain't

Bobby Sheen was one of the biggest ever sounds to come out of Stafford's Top Of the World, championed by the Stafford supremo Dave Thorley. As Ted says it's one that has never stopped being played ever since the mid 80's, filling dance floors everywhere.

From the start of the TMG series they used white demo's with red capital A on them, which was how the Stateside demo's had been formatted, which was the label before Tamla Motown for releasing Motown product. Then they changed over to a green label with a white capital A. I'm sure some Motown expert will tell you what was the last number they used the red & white, think there's less than 80 R&W's before they changed? it might be that the last one was tmg575, but dont hold me to that. Then later they changed to just printing the demo details in the same colour font as the title details on the standard black Tamla Motown label , and then we had the blue "metalic" label with their own demo's, and green "metalic"labels demos

how strange you should write this Mark, because 25- 30 years ago I witnessed Sam play a set made up of US Motown wdj's ! I think he did it as a favour for the promoter because at the time he was playing lotsa new releases, which included my then favourite "Cash Play" and I hadn't seen or heard of him playing Oldies sets, or indeed 60's sets for quite a long time in that era. The reason i remember it so well was because it was what started my own obsession with Motown WDJ's of Northern Sounds ! I followed him around a lot in those days, both learning & enjoying his wide tastes. When he and Butch became regulars at Albrighton in the 90's I thought they were just about the two best DJ's the scene had, and nothing has made me change my mind ever since. I think he was very unfortunate to be pushing new release soul in the middle 80's when so many Niter goers had nailed their colours to the 60's only mast. If there hadn't been so many great 60's Newies around in that time then perhaps more folk would have been more willing to listen to the best 80's tracks that Sam played, but such is life. Best memory of Sam ? as I clambered on stage at Lea Manor, him with the hugest smile on his face as he was playing some quite slow Detroit gem, maybe Buddy Smith "When You Lose The One You Love" to a full dance floor. Yes I know he greets you with that same genuinely pleased to see you smile whenever he sees you, but his smile as he connects to like minded souls on the floor, that's the one ! long may he continue to show us the way, to upset a few, and to fill up our souls with new tunes we didn't know.

there's somebody on wants recently advertised for a "And The Rains Came" hth